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Successful films in that genre such as Little Caesar (1931), The Public Enemy (1931) and Scarface (1932) demonstrated that there was an audience for crime dramas with morally reprehensible protagonists.

Among films not considered films noir, perhaps none had a greater effect on the development of the genre than Citizen Kane (1941), directed by Orson Welles.

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Directors such as Lang, Robert Siodmak and Michael Curtiz brought a dramatically shadowed lighting style and a psychologically expressive approach to visual composition (mise-en-scène), with them to Hollywood, where they made some of the most famous classic noirs.

By 1931, Curtiz had already been in Hollywood for half a decade, making as many as six films a year.

The opportunities offered by the booming Hollywood film industry and then the threat of Nazism, led to the emigration of many film artists working in Germany who had been involved in the Expressionist movement or studied with its practitioners.

M (Fritz Lang 1931), shot only a few years before his departure from Germany, is among the first crime films of the sound era to join a characteristically noirish visual style with a noir-type plot, in which the protagonist is a criminal (as are his most successful pursuers).

The term film noir, French for "black film" (literal) or "dark film" (closer meaning), were referred to as "melodramas".

Whether film noir qualifies as a distinct genre is a matter of ongoing debate among scholars. Although film noir was originally associated with American productions, films now so described have been made around the world.

Movies of his such as 20,000 Years in Sing Sing (1932) and Private Detective 62 (1933) are among the early Hollywood sound films arguably classifiable as noir—scholar Marc Vernet offers the latter as evidence that dating the initiation of film noir to 1940 or any other year is "arbitrary".